Kathy Ryan

Harry Heckel

Heather Curatola

Werewolf: The Apocalypse is about anger over the loss of what the shapeshifting Garou hold dearest: Gaia, the Earth itself. Corruption from without and within has caused the destruction not only of the Garou's environment, but also of their families, friends and culture, which extends in an unbroken line to the very dawn of life. No matter how righteously the Garou hold themselves, no matter how they prey on their destroyers, the corruption spreads. Now the time for reconciliation is past. This grave insult against Gaia can end in only one way: blood, betrayal... and rage. Witness -- and play -- the shapechangers of the Far East.

Shapeshifters of the East

Hengeyokai

Göran Odbratt

Maud Nycander

The largest and most extensive retrospective of Lars Tunbjörk's work ever published. Lars Tunbjörk was inspired by the Swedish masters such as Christer Stromholm, but soon discovered his own style by taking a cue from the American photographers of the 1970s like Stephen Shore and William Eggleston. Tunbjork's images amplified the most mundane and absurd aspects of modern life in a surreal way, using the hard light of flash photography, which became his signature style and influenced a generation of photographers after him. Whatever subject he was documenting, suburbia or offices spaces, he did it in such a revealing way with a stark, clear-eyed honesty layered with a sense of humour. Tunbjörk's work is best experienced in the photo book format. He used the medium to build loose narratives and to showcase his extraordinary projects. He released more than 10 photobooks, which include Home and Vinter. He came to pre-eminence with the now rare book Office, with Martin Parr and Gerry Badger describing him as 'an acute observer of modern life.

Lars Tunbjörk

Stacey Baker

A book full of ladies legs photographed on the streets of New York a celebration of the female figure"

New York Legs

Gerald Marzorati

Accompanied by behind-the-scenes perspectives by the many photographers, writers, other collaborators whose voices have been a part of "The New York Times Magazine" over the years, presents a portfolio of images organized in four sections: reportage, portraiture, style, and conceptual photography.

Kathy Ryan

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